Athens of America Origin, an Old Nickname for Boston The Hub Athens of America Origin A lesser known nickname for Boston is The Athens of America, used mainly in literary circles during the first half of the 20th Century. The origin is believed to be in a letter written in 1764 by Samuel Adams, as quoted in History of the United States, by George Bancroft, Volume 5, page 195 (1857), in which Adams wrote "Boston might become a Christian Sparta." Also, in 1819, William Tudor wrote a letter describing the town: "[Boston] is perhaps the most perfect and certainly the best-regulated democracy that ever existed. There is something so impossible in the immortal fame of Athens, that the very name makes everything modern shrink from comparison; but since the days of that glorious city I know of none that has approached so near in some points, distant as it may still be from that illustrious model." Aristides the Just On the western slope of Beacon Hill, at Louisburg Square, is a statue of Ancient Greek general and statesman Aristides the Just (530?-468 BC).

Aristides led the army in a great victory over the Persians at the Battle of Plataea (479). In 478, he was a prominent leader in the formation of the confederacy of Greek city-states known as the Delian League. The Aristides statue on Beacon Hill was a significant symbol of the Athens of America alias, and also of 1850s Brahmin culture. Louisburg Square is collectively owned by a group of wealthy Boston residents. Joseph Iasigi, of Greek descent and one of the owners of the square, received approval in 1852 and installed the statue of Aristides. The square also hosts a statue of Christopher Columbus, installed about the same time, located at the opposite end as Aristides. In the early 1900s, a club of engineering and technology students resided at a building in the square, and Aristides became known as Uncle Louisburg or just Uncle Louie by the younger generations. Many of the quaint row houses and streets on Beacon Hill resemble parts of old London. This was of course, by design.

According to the book Some Statues of Boston (1946), by State Street Trust Company, a former resident recalled that the Edison Company had at one time taken photographs of Louisburg Square, and thus avoided the need to travel to London to take photographs. Edinburgh in Scotland was also known as a Modern Athens at about the same time Boston was espousing its similarity with the ancient Greek city. Athens of America | Encyclopedia of Greater Philadelphia Encyclopedia of Greater Philadelphia Sources Athens of America Centre Square Pump House, model by Frederick Graff, c. 1820. ( Philadelphia History Museum at the Atwater Kent , Historical Society of Pennsylvania Collection, gift of Mrs. Charles Graff, 1942, Photograph by Sara Hawken) By Alexandra Alevizatos Kirtley In the decades after American independence, the atmosphere of liberty in Philadelphia spawned an artistic spirit that earned this city its reputation as the Athens of America. Here, enthusiasm for the arts grew with the same fervor and in the same houses, streets, and shops where the seeds of political freedom had been sown and cultivated a generation earlier. Philadelphia began to grow into a vibrant, varied, and long-lasting center for arts and culture.

To many, there were clear parallels between Athens in the Great Age of Pericles (480 BC-404 BC) and Philadelphia in the early national period (1790-1840). Athens’ architectural monuments, sculpture, wall painting, pottery, furniture, literature, music, and theatre established the fundamental elements of these arts for more than two thousand years. Philadelphia was poised to take the lead artistically for America in the same way Athens inspired the ancient world. Read More Presented to Charles Thomson in esteem for his service as the first secretary of the Continental Congress in 1774, this hot water urn is considered the first monumental American expression of the Greek-inspired neoclassical style. ( Philadelphia Museum of Art ) For Philadelphians—artists and patrons alike—of the 1790s and early 1800s, the term Athens of America was (and perhaps remains) more an aspiration than an accomplishment; more a vision than a triumph. And it was as much about producing art as it was about a government that fostered artistic creation. Following the 1788 ratification of the U.S.

Constitution, many Americans were full of heady ideology as they hearkened back to the purity of the democracy of ancient Athens and the importance of the individual to the success of the whole. Athenian Art Revival Visually, the imitation of ancient Athenian art—broadly referred to as classical art—emerged in the mid-1700s during the archaeological excavations of the cities of ancient Greece. Europeans soon revived the arts of ancient Athens (and later Rome) as the prevailing taste, evident in everything from temple-like architecture to high-waisted columnar dresses. This embrace of classical art was uniquely timed with Americans’ enthusiasm for democracy. When the federal government moved to Philadelphia in 1790 for a ten-year stint, the city was ripe for the flowering of a golden age. Not only was it the most populous and most commercially active American city, the new nation’s capital was an epicenter of intellectual thought and visual expression.

Philadelphia institutions were the first to provide access to literature, to encourage artistic and scientific innovation, and to display paintings publicly: consider Benjamin Franklin founding the Library Company (1731) and American Philosophical Society (1743) and Charles Willson Peale opening a portrait gallery (1782) and natural history museum (1786). From this foundation, the city embarked on an aggressive campaign to build banks, religious and municipal buildings, theatres, art and music schools, academies, and extraordinary residences. The architecture of the new United States was identified by the Philadelphia court house, which became Congress Hall and still stands at Chestnut and Sixth Streets. The temple front, proportions, flat surfaces and arches, Greek-key cornice, and interior plaster ornament reference Greek architecture—in contrast to the State House (now Independence Hall, completed in 1753), Christ Church (completed in 1755), and Carpenter’s Hall (completed in 1773). Andalusia, overlooking the Delaware River. (Photograph courtesy of Connie S.

Griffith Houchins.) By the 1800s, the subtlety of Congress Hall gave way to more and more pronounced imitation, such as the creations of British-born architect Benjamin Henry Latrobe (1764-1820): the Waterworks at Center Square (1800, now the site of City Hall), the Bank of Pennsylvania (1801), and the house and furniture of William and Mary Waln (1808). Latrobe’s protégées continued his legacy: Second Bank of the United States (William Strickland, 1816), Washington Hall (Robert Mills, 1816), the Fairmount Water Works (Frederick Graff, 1822), Girard College (Thomas U. Walter, 1833), and Nicholas Biddle’s estate, Andalusia (Latrobe, 1811 and Walter, 1837). Classical Columns and Draperies Sculptor William Rush progressed from carving ship figureheads to major public monuments in the classical style.

Painters, led by Gilbert Stuart, Thomas Sully, and the Peale family, depicted the city’s leaders flanked by classical columns and draperies, and composed pictures based on Greek mythology and literature. Stuart recalled his time in Philadelphia in the 1790s by saying “when I resided in the Athens of America….” Benjamin Henry Latrobe designed the house and furniture of William and Mary Waln at Seventh and Chestnut Streets. The so-called Klismos form is distinguished by front and rear legs that curve inwards and directly mimics ancient Greek chairs as seen on pottery. ( Philadelphia Museum of Art ) The design of furniture, fabrics, upholstery, silver, and ceramics followed architecture’s classicizing trend. Where furniture once had voluptuous carving, there was low relief carving and colorful wood inlays of vases, urns, and intricate geometric patterns. Chairs had backs in the shape of vases and by 1805 wholly imitated antique Greek Klismos chairs. Upholsterers (who functioned as interior designers) contrasted sharp seat edges with flowing drapery.

They modeled it on upholstery depicted on Greek pottery, which was illustrated in the catalogue of antique pottery from the “cabinet” (collection) of British antiquarian Sir William Hamilton—available at The Library Company in 1775. Porcelain like the shell-encrusted pickle stand produced by Philadelphia entrepreneurs Messrs. Bonnin & Morris between 1770 and 1772 evolved into the lustrous smooth porcelain made at the Philadelphia factory of William and Thomas Tucker from 1826 to 1838. The Tucker’s shapes mimicked Greek pottery, with the white of the porcelain body suggesting marble. The term Athens of America to refer to Philadelphia was used as early as 1783, though later some applied the same phrase to Boston, and towns named Athens dotted the American landscape.

Henry Latrobe’s May 8, 1811, oration (in good Greek fashion) to Philadelphia’s Society of Artists is often cited as affirming the city as the Athens of America: he dreamed that “the days of Greece may be revived in the woods of America and Philadelphia become the Athens of the Western World.” Latrobe pointed out the importance of the academies and schools of art in Philadelphia—the Pennsylvania Academy of Fine Arts (founded in 1805), the Walnut Street Theatre (1809), and the Society of Artists (1811)—and their associated buildings, endowments, administrators, and teachers. The Philadelphia Athenaeum The Philadelphia Athenaeum — literally a place for the promotion of reading and higher learning — was founded in 1814. In The National Gazette, a writer defined the Athens of America as “A city where the public library is open three to four hours in the day.” Could Philadelphia sustain its lofty aspiration?

In 1825, a Richmond, Va., newspaper reported that “Philadelphia is determined, as far as her public buildings will effect it, to establish her claim to the title of the Athens of America.” But by the 1840s, the fervor that gave rise to Philadelphia’s claim as “Athens of America” diminished. New York — the Empire City — dominated, culturally as well as economically. Still, the image resonated into the 1890s, when the Acropolis-like site of the reservoir for the old Fairmount Waterworks was chosen for the Philadelphia Museum of Art . Institutions created during the golden years continue to produce great painters and sculptors, and cultures from around the world add new layers to the city’s visual and performing arts. Named by William Penn, Philadelphia — from the Greek Philos (loving) and adelphos (brother) — achieved greatness by modeling itself after Athens through placing importance on the arts. While cultural centers formed around the country, Philadelphians remain both the beneficiary and the inheritor of the pursuit to be the Athens of America. None would recognize the city without its arts.

Alexandra Alevizatos Kirtley is Associate Curator of American Art at the Philadelphia Museum of Art. Topics: The Arts American Bandstand American Bandstand (1952-89) was a massively popular music television program with strong Philadelphia roots, storied national success, and the power to shape the music industry and society. The show epitomized many important aspects of ever-evolving American popular culture: mass communication, popular music, youth culture, dance and fashion trends, as well as race and gender relationships. ⇒ Read More Art Colonies Outside the urban core of Philadelphia, the picturesque rural landscape proved a significant draw to many artists in search of the purportedly simple, wholesome, and moral quality of countryside living. Whether planned and intentional or more organic and serendipitous, colonies like those in New Hope, Chadds Ford, and Rose Valley in Pennsylvania, and Arden and ⇒ Read More Art Deco Like other major American cities in the 1920s and 1930s, Philadelphia was an epicenter for the exuberant strain of architecture and design activity that came to be known as Art Deco.

Fueled by the area’s economic importance and increasingly urban character after the First World War, designers, corporations, and manufacturers all engaged in a broad ⇒ Read More Art of Dox Thrash Dox Thrash (1893-1965) was an accomplished draftsman, printmaker, watercolorist, and painter, whose art reflected his experiences as an African American in Philadelphia. He became well known in the 1940s after developing the Carborundum printmaking technique at the Philadelphia Fine Print Workshop (311 Broad Street) of the Works Progress Administration’s Federal Art Project. By rubbing coarse ⇒ Read More Art of Thomas Eakins The art of Thomas Eakins (1844-1916) is more deeply entwined with the city of Philadelphia than that of any other artist of the nineteenth century. Born in North Philadelphia in 1844, Eakins spent nearly his entire life in the city. He consistently took local residents as his subjects, portraying friends, family, and individuals he admired engaged ⇒ Read More Arts and Crafts Movement The Arts and Crafts movement in Greater Philadelphia grew against the backdrop of the area’s increasingly industrial character in the late nineteenth and early twentieth centuries.

The 1876 Centennial Exhibition brought attention to Philadelphia’s prominence as a manufacturing center and fostered a renewed sense of pride in the city’s connections to national history, but it ⇒ Read More Arts of Wharton Esherick The unconventional artistic trajectory and prolific work of prominent Philadelphia-area artist and craftsman Wharton Esherick (1877–1970) have been claimed for and by multiple movements in the history of twentieth-century American art, from early-twentieth-century Arts and Crafts to postwar studio craft. Working across a wide variety of media, including printmaking, sculpture, furniture, and theatrical design, Esherick ⇒ Read More Athenæum of Philadelphia The Athenæum of Philadelphia, a not-for-profit, member-supported library, was founded in 1814 “to disseminate useful knowledge.” Threatened for its very existence with the advent of the city’s free library in 1894, the organization subsequently recovered and ultimately thrived as it reinvented itself as a special- collections library with related public exhibitions, lectures, and publications.

Unlike ⇒ Read More Avenue of the Arts The Avenue of the Arts is the appellation for a section of Broad Street—from Washington Avenue in South Philadelphia to Glenwood Avenue in North Philadelphia—devoted to arts and entertainment facilities. The Avenue was conceived in 1993 by a coalition of public and private entities to attract visitors to Center City. Amid a decline in manufacturing, ⇒ Read More Ballet Philadelphia has a rich ballet history that spans centuries. Although initially not hospitable to dance, the city developed into an attractive destination for international ballet dancers and teachers and eventually produced the first genuine ballerinas born in the United States, the first thoroughly American ballet troupe, and one of the most prominent of the regional ⇒ Read More Bank War Conflict over renewing the charter of the Second Bank of the United States triggered the 1830s Bank War, waged between President Andrew Jackson (1767-1845) and bank president Nicholas Biddle (1786-1844). Operating from its Parthenon-style building on Chestnut Street between Fourth and Fifth Streets in Philadelphia, the bank served as a reliable depository for federal money ⇒ Read More Barnes Foundation Businessman, chemist, educator, and art collector Dr.

Albert C. Barnes (1872-1951) established the Barnes Foundation in 1922 as a center for art education organized around his growing collection of paintings, sculpture, and furniture. The institution earned international renown, less for its pedagogy than for its art collection, which by mid-century was world-class. Initially based in ⇒ Read More Birch’s Views of Philadelphia The City of Philadelphia, in the State of Pennsylvania North America; as it appeared in the Year 1800 is a masterpiece of American copperplate engraving and the first book of views to be entirely produced and published in the United States. Comprising twenty-seven scenes or “views” of Philadelphia’s buildings and streetscapes, the book aimed to ⇒ Read More Book Publishing and Publishers Between 1750 and 1800, Philadelphia became the center for book printing and publishing in the United States, surpassing New York and Boston. Although Philadelphia lost that primacy in the nineteenth century, firms specializing in medical and religious publishing continued to do well. By the mid to late twentieth century, however, as the publishing industry consolidated, ⇒ Read More Cartoons and Cartoonists American cartooning began in Philadelphia.

Benjamin Franklin (1706–90), who introduced cartoons to North America, used images to galvanize viewers to action on the issues of their day. As the political, economic, and cultural capital of the early United States, Philadelphia became a center for producing political cartoons and humorous caricatures. Although New York eventually supplanted ⇒ Read More Centennial Exhibition (1876) The International Exhibition of Arts, Manufactures and Products of the Soil and Mine, more simply known as “the Centennial,” opened in Fairmount Park to great fanfare on May 10, 1876, and closed with equal flourish six months later. Modeled after the Crystal Palace Great Exhibition in London in 1851, and the first in a long ⇒ Read More Coffeehouses Philadelphia’s first coffeehouse opened in 1703, and by mid-century half a dozen operated within the city limits. Their purpose, however, changed in important ways as the eighteenth century progressed. Early coffeehouses primarily served the needs of traders and mariners, acting as crucial centers of commerce.

In the decades following the American Revolution, however, some coffeehouse ⇒ Read More Doo Wop Philadelphia was one of several key cities where, in the 1950s and early 1960s, singers created the small-group vocal harmony style of rhythm and blues known as doo wop. Doo wop was an urban style, sung on city street corners and in school hallways. Its name, derived from a type of sound singers made in ⇒ Read More Godey’s Lady’s Book The first successful women’s magazine and most widely circulated magazine in the antebellum United States, Godey’s Lady’s Book offered fashion illustrations and advice, literary pieces, and articles on current events and popular culture. Founded in Philadelphia in 1830 by Louis Antoine Godey (1804-1878) and edited for four decades by Sarah Josepha Hale (1788-1879), the magazine provided ⇒ Read More Gothic Literature From the early nineteenth century onward, Philadelphia spawned an abundance of mysterious tales starring shadowy strangers, fantastic happenings, and deadly conspiracies.

Prominent genre writers including Charles Brockden Brown (1771-1810), George Lippard (1822-54), and Edgar Allan Poe (1809-49) made the City of Brotherly Love the birthplace of American gothic literature. Although the gothic arguably reached its ⇒ Read More Gross Clinic (The) The Gross Clinic, painted in 1875 by Thomas Eakins (1844-1916), is among the most highly regarded American artworks from the nineteenth century. It is a portrait of Dr. Samuel D. Gross (1805-84), an internationally celebrated surgeon who taught at Jefferson Medical College in Philadelphia from 1856 to 1882. Created by a local artist and depicting ⇒ Read More Hail, Columbia “Hail, Columbia,” written in Philadelphia in the closing years of the eighteenth century, became a popular patriotic song in early America and served for many years as the unofficial national anthem.

Bands began to play it in honor of the vice president of the United States in the 1830s, and later it became the official ⇒ Read More Historical Societies Over the nineteenth and twentieth centuries, Americans started establishing historical societies to collect and preserve historical materials. In 1815, Philadelphia became the fourth U.S. city to host a historical society, the American Philosophical Society’s Historical and Literary Committee. The city’s religious tolerance and central location made it a natural location for religious and ethnic societies. ⇒ Read More Jazz Jazz began to emerge as a distinct musical style around the turn of the twentieth century, a merging of two vernacular African American musical styles—ragtime and blues—with elements of popular music. New Orleans, the “cradle of jazz,” was the most important city in this process, with Chicago and New York playing particularly significant roles in ⇒ Read More Junto “Do you love truth for truth’s sake?” If the answer is yes, you are one-fourth of the way through the initiation ceremony of the Junto, which Benjamin Franklin (1706-90) founded in 1727 in Philadelphia.

The 21-year-old Franklin, according to his autobiography, established the Junto as a club for “mutual improvement,” inviting acquaintances to meet weekly ⇒ Read More Kimmel Center for the Performing Arts The Kimmel Center for the Performing Arts was designed as the centerpiece of the Avenue of the Arts, a rebranded stretch of Broad Street devoted to performing arts venues. Built by a partnership of public and private entities, the Kimmel Center was part of a wider plan to revitalize Center City via the construction of ⇒ Read More Laurel Hill Cemetery Founded in 1836 as an alternative to the overcrowded churchyards of rapidly growing Philadelphia, Laurel Hill Cemetery was the first rural cemetery for the city and the second in the United States. With monuments designed by the era’s most prominent sculptors and architects, it served as elite Philadelphia’s preferred burial place for over a century. ⇒ Read More Liberia; Or, Mr. Peyton’s Experiments Liberia; Or, Mr. Peyton’s Experiments (1853) is a hybrid work containing fiction, history, and biography along with transcriptions of documents on Liberia.

The work argued that free blacks could not prosper in North America but had opportunities for advancement and self-determination in Liberia, a black Christian republic. The Americo-Liberian settlers would not only rise themselves ⇒ Read More Modern Chivalry: Containing the Adventures of Captain John Farrago, and Teague O’Regan, his Servant Modern Chivalry is a rich American novel, penned by the army chaplain, editor, Pennsylvania lawyer and judge, state legislator, and writer Hugh Henry Brackenridge (1748-1816), published in installments from 1792 to 1815. A social and political satire, it features two main characters, Captain John Farrago and his Irish servant, Teague O’Regan, who engage in humorous, ⇒ Read More Murals Murals in the Greater Philadelphia region, like those in the United States at large, belong to an extraordinarily diverse set of histories and genealogies, from indigenous rock carving to decorations for private houses to paintings in public buildings and community initiatives.

Philadelphia-area murals have spanned this diverse heritage, including three particularly important mural movements: Beaux-Arts ⇒ Read More Painters and Painting Philadelphia has a long, distinguished history as a center of American painting. In addition to the work of individuals and artistic family dynasties, the history of Philadelphia painters is linked with the city’s art schools, particularly the Pennsylvania Academy of the Fine Arts (PAFA), founded in 1805. Working locally and abroad, Philadelphia painters have connected ⇒ Read More Peale Family of Painters For over 125 years, the family headed by Charles Willson Peale (1741-1827) documented Philadelphia’s leading citizens and created paintings to decorate their homes. The Peales’ involvement in the arts enriched the cultural landscape of Philadelphia, and their work as naturalists and museum entrepreneurs advanced the causes of art, science, and science education in the United ⇒ Read More Peale’s Philadelphia Museum Inspired by eighteenth-century Enlightenment ideals celebrating humankind’s capacity to learn and use new information, the artist Charles Willson Peale (1741-1827) conceived his Philadelphia Museum.

In it, Peale intended the works of man and nature to coexist for the edification of all. The Philadelphia Museum, Peale said, served “to instruct the mind and sow the seeds ⇒ Read More Philadelphia Orchestra Founded in 1900, the Philadelphia Orchestra developed into an iconic organization for Philadelphia through its musicianship, commitment to culture and education, and service as a cultural ambassador. The musical tastes and personalities of a series of influential conductors infused the orchestra with a rich history and distinctive sound as it became one of the finest ⇒ Read More Plays of Susanna Rowson In the three years in the 1790s that Susanna Rowson (1762-1824) was a presence on the Philadelphia stage as a writer and performer, her tireless promotion of the theater helped establish its centrality to the city’s arts community. Rowson came to prominence as a writer for Charlotte Temple: A Tale of Truth, published in 1791 ⇒ Read More Printmaking Beginning in the mid-nineteenth century, Philadelphia became a leading center of printmaking in the United States. While publishing companies had operated in the city since the eighteenth century, the technological innovations of the firm of Peter S.

Duval (1804/5-86) transformed Philadelphia’s lithographic trade into a booming industry. Duval’s commitment to improving printmaking methods and achieving ⇒ Read More Radio DJs Disc jockeys—“DJs” who play music on the radio—have had a key role in shaping Philadelphia musical tastes since the 1950s. They reflected national and local musical trends, exposed audiences to new music, and in some cases produced records and managed artists. Many Philadelphia DJs became celebrities, actively engaged and influential in the local music scene. ⇒ Read More Recording Industry The birthplace of the American “record” industry, the Philadelphia region for more than a century has been home to a thriving industry of recording studios and record companies. In Camden, New Jersey, the Victor Company in the early 1900s was the nation’s largest manufacturer of musical recordings.

Since then, Philadelphia’s unique concentration of diversified industries, ⇒ Read More Red City (The) Written by Silas Weir Mitchell (1829-1914) and published in 1908, The Red City: A Historical Novel of the Second Administration of President Washington is a historical romance, a genre whose plot typically consists of a quest, followed by trials, and ending in marriage. Mitchell presents a view of Philadelphia in the 1790s as politically divided ⇒ Read More Red Rose Girls Three young artists who took up residence at the old Red Rose Inn in Villanova, Pennsylvania, in the first decade of the twentieth century helped make Philadelphia a national leader in book and magazine illustration. They also successfully challenged the idea that only men could be “serious” and influential professional artists. The “Red Rose Girls”—Jessie ⇒ Read More Rhythm and Blues With its large and diverse African American population and long tradition of black popular and religious music, Philadelphia became a hotbed of the new rhythm and blues style that emerged from jazz, blues, and gospel music in the 1940s and 1950s.

The term “rhythm and blues” came into general use in the late 1940s to ⇒ Read More Rock and Roll (Early Years) For most Americans in the mid-1950s, rock and roll seemed to come out of nowhere, a raucous new musical style that suddenly burst on the scene. In reality, rock and roll had been taking shape for decades, as uniquely American vernacular musical styles such as jazz, blues, gospel, and country music cross-pollinated. The process unfolded ⇒ Read More Rocky More than just a popular series of Hollywood films or the fictional prizefighter whose life and career they chronicle, Rocky is a late-twentieth-century cultural phenomenon that reframed Philadelphia for local, national, and international audiences. Rocky premiered in 1976. Written by and starring Sylvester Stallone (b. 1946), the film introduced audiences to Rocky Balboa: a down-and-out ⇒ Read More What city was once known as 'The Athens of America'? — NewsWorks Comment This is the sixth in a series of essays on key phrases from Philadelphia's history, being written for the Encyclopedia of Greater Philadelphia project.

In the decades after American independence, the atmosphere of liberty in Philadelphia spawned an artistic spirit that earned this city its reputation as the Athens of America. Here, enthusiasm for the arts grew with the same fervor and in the same houses, streets, and shops where the seeds of political freedom had been sown and cultivated a generation earlier. Philadelphia began to grow into a vibrant, varied, and long-lasting center for arts and culture. To many, there were clear parallels between Athens in the Great Age of Pericles (480 B.C. - 404 B.C.) and Philadelphia in the early national period (1790-1840). Athens' architectural monuments, sculpture, wall painting, pottery, furniture, literature, music, and theatre established the fundamental elements of these arts for more than two thousand years. Philadelphia was poised to take the lead artistically for America in the same way Athens inspired the ancient world. For Philadelphians — artists and patrons alike — of the 1790s and early 1800s, the term Athens of America was (and perhaps remains) more an aspiration than an accomplishment; more a vision than a triumph.

And it was as much about producing art as it was about a government that fostered artistic creation. Classical in fashion Following the 1788 ratification of the U.S. Constitution, many Americans were full of heady ideology as they hearkened back to the purity of the democracy of ancient Athens and the importance of the individual to the success of the whole. Visually, the imitation of ancient Athenian art — broadly referred to as classical art — emerged in the mid-1700s during the archaeological excavations of the cities of ancient Greece. Europeans soon revived the arts of ancient Athens (and later Rome) as the prevailing taste, evident in everything from temple-like architecture to high-waisted columnar dresses. This embrace of classical art was uniquely timed with Americans' enthusiasm for democracy. When the federal government moved to Philadelphia in 1790 for a ten-year stint, the city was ripe for the flowering of a golden age. Not only was it the most populous and most commercially active American city, the new nation's capital was an epicenter of intellectual thought and visual expression.

Philadelphia institutions were the first to provide access to literature, to encourage artistic and scientific innovation, and to display paintings publicly: consider Benjamin Franklin founding the Library Company (1731) and American Philosophical Society (1743) and Charles Willson Peale opening a portrait gallery (1782) and natural history museum (1786). From this foundation, the city embarked on an aggressive campaign to build banks, religious and municipal buildings, theatres, art and music schools, academies, and extraordinary residences. The architecture of the new United States was identified by the Philadelphia court house, which became Congress Hall and still stands at Chestnut and Sixth Streets. The temple front, proportions, flat surfaces and arches, Greek-key cornice, and interior plaster ornament reference Greek architecture—in contrast to the State House (now Independence Hall, completed in 1753), Christ Church (completed in 1755), and Carpenter's Hall (completed in 1773).

By the 1800s, the subtlety of Congress Hall gave way to more and more pronounced imitation, such as the creations of British-born architect Benjamin Henry Latrobe (1764-1820): the Waterworks at Center Square (1800, now the site of City Hall), the Bank of Pennsylvania (1801), and the house and furniture of William and Mary Waln (1808). Latrobe's protégées continued his legacy: Second Bank of the United States (William Strickland, 1816), Washington Hall (Robert Mills, 1816), the Fairmount Water Works (Frederick Graff, 1822), Girard College (Thomas U. Walter, 1833), and Nicholas Biddle's estate, Andalusia (Latrobe, 1811 and Walter, 1837). [Illustration] Greece as model Sculptor William Rush progressed from carving ship figureheads to major public monuments in the classical style.

Painters, led by Gilbert Stuart, Thomas Sully, and the Peale family, depicted the city's leaders flanked by classical columns and draperies, and composed pictures based on Greek mythology and literature. Stuart recalled his time in Philadelphia in the 1790s by saying "when I resided in the Athens of America...." [Illustration] The design of furniture, fabrics, upholstery, silver, and ceramics followed architecture's classicizing trend. Where furniture once had voluptuous carving, there was low relief carving and colorful wood inlays of vases, urns, and intricate geometric patterns. Chairs had backs in the shape of vases and by 1805 wholly imitated antique Greek Klismos chairs. Upholsterers (who functioned as interior designers) contrasted sharp seat edges with flowing drapery. They modeled it on upholstery depicted on Greek pottery, which was illustrated in the catalogue of antique pottery from the "cabinet" (collection) of British antiquarian Sir William Hamilton—available at The Library Company in 1775.

[Illustration of chair; also Illustration of silver (priority, with caption)] Porcelain like the shell-encrusted pickle stand produced by Philadelphia entrepreneurs Messrs. Bonnin & Morris between 1770 and 1772 evolved into the lustrous smooth porcelain made at the Philadelphia factory of William and Thomas Tucker from 1826 to 1838. The Tucker's shapes mimicked Greek pottery, with the white of the porcelain body suggesting marble. The phrase takes hold The term Athens of America to refer to Philadelphia was used as early as 1783, though later some applied the same phrase to Boston, and towns named Athens dotted the American landscape.

Henry Latrobe's May 8, 1811, oration (in good Greek fashion) to Philadelphia's Society of Artists is often cited as affirming the city as the Athens of America: he dreamed that "the days of Greece may be revived in the woods of America and Philadelphia become the Athens of the Western World." Latrobe pointed out the importance of the academies and schools of art in Philadelphia—the Pennsylvania Academy of Fine Arts (founded in 1805), the Walnut Street Theatre (1809), and the Society of Artists (1811)—and their associated buildings, endowments, administrators, and teachers. The Philadelphia Athenaeum—literally a place for the promotion of reading and higher learning was founded in 1814. In The National Gazette, a writer defined the Athens of America as "A city where the public library is open three to four hours in the day." Could Philadelphia sustain its lofty aspirations?

In 1825, a Richmond, Va., newspaper reported that "Philadelphia is determined, as far as her public buildings will effect it, to establish her claim to the title of the Athens of America." The image resonated into the 1890s, when the Acropolis-like site of the reservoir for the old Fairmount Waterworks was chosen for the Philadelphia Museum of Art. Treasured remnants But by the 1840s, the fervor that gave rise to Philadelphia's claim as "Athens of America" diminished. New York – the Empire City – dominated, culturally as well as economically. Still, the physical remnants of Greek heritage remain, and institutions created during the golden years continue to produce great painters and sculptors. Cultures from around the world add new layers to the city's visual and performing arts. Named by William Penn, Philadelphia—from the Greek Philos "loving" and adelphos "brother"—achieved greatness by modeling itself after Athens through placing importance on the arts. While cultural centers formed around the country, Philadelphians remain both the beneficiary and the inheritor of the pursuit to be the Athens of America. None would recognize the city without its arts.

Alexandra Alevizatos Kirtley is the Montgomery-Garvan Associate Curator of American Decorative Arts at the Philadelphia Museum of Art. This essay is published in partnership with The Encyclopedia of Greater Philadelphia and the Historical Society of Pennsylvania, with support from the Pennsylvania Humanities Council. The Encyclopedia of Greater Philadelphia is a civic project to build "the most comprehensive, authoritative reference source ever created for the Philadelphia region." This year the project has commissioned nine essays on signature phrases describing Philadelphia. This is the fifth. NewsWorks will publish all the essays in the series. Other phrases explored in the project are: "City of Brotherly Love," "Holy Experiment," "Green Country Town," "Cradle of Liberty," "Corrupt and Contented," "Workshopt to the World," " "City of Neighborhoods," and "Place That Loves You Back." Click on the points of the map to see the locations of the sites mentioned in the story. for NewsWorks For Philadelphians — artists and patrons alike — of the 1790s and early 1800s, the term Athens of America was (and perhaps remains) more an aspiration than an accomplishment; more a vision than a triumph.

What city was once known as 'The Athens of America'? — NewsWorks Comment This is the sixth in a series of essays on key phrases from Philadelphia's history, being written for the Encyclopedia of Greater Philadelphia project. In the decades after American independence, the atmosphere of liberty in Philadelphia spawned an artistic spirit that earned this city its reputation as the Athens of America. Here, enthusiasm for the arts grew with the same fervor and in the same houses, streets, and shops where the seeds of political freedom had been sown and cultivated a generation earlier. Philadelphia began to grow into a vibrant, varied, and long-lasting center for arts and culture. To many, there were clear parallels between Athens in the Great Age of Pericles (480 B.C. - 404 B.C.) and Philadelphia in the early national period (1790-1840). Athens' architectural monuments, sculpture, wall painting, pottery, furniture, literature, music, and theatre established the fundamental elements of these arts for more than two thousand years. Philadelphia was poised to take the lead artistically for America in the same way Athens inspired the ancient world.

For Philadelphians — artists and patrons alike — of the 1790s and early 1800s, the term Athens of America was (and perhaps remains) more an aspiration than an accomplishment; more a vision than a triumph. And it was as much about producing art as it was about a government that fostered artistic creation. Classical in fashion Following the 1788 ratification of the U.S. Constitution, many Americans were full of heady ideology as they hearkened back to the purity of the democracy of ancient Athens and the importance of the individual to the success of the whole. Visually, the imitation of ancient Athenian art — broadly referred to as classical art — emerged in the mid-1700s during the archaeological excavations of the cities of ancient Greece. Europeans soon revived the arts of ancient Athens (and later Rome) as the prevailing taste, evident in everything from temple-like architecture to high-waisted columnar dresses. This embrace of classical art was uniquely timed with Americans' enthusiasm for democracy. When the federal government moved to Philadelphia in 1790 for a ten-year stint, the city was ripe for the flowering of a golden age.

Not only was it the most populous and most commercially active American city, the new nation's capital was an epicenter of intellectual thought and visual expression. Philadelphia institutions were the first to provide access to literature, to encourage artistic and scientific innovation, and to display paintings publicly: consider Benjamin Franklin founding the Library Company (1731) and American Philosophical Society (1743) and Charles Willson Peale opening a portrait gallery (1782) and natural history museum (1786). From this foundation, the city embarked on an aggressive campaign to build banks, religious and municipal buildings, theatres, art and music schools, academies, and extraordinary residences. The architecture of the new United States was identified by the Philadelphia court house, which became Congress Hall and still stands at Chestnut and Sixth Streets. The temple front, proportions, flat surfaces and arches, Greek-key cornice, and interior plaster ornament reference Greek architecture—in contrast to the State House (now Independence Hall, completed in 1753), Christ Church (completed in 1755), and Carpenter's Hall (completed in 1773).

By the 1800s, the subtlety of Congress Hall gave way to more and more pronounced imitation, such as the creations of British-born architect Benjamin Henry Latrobe (1764-1820): the Waterworks at Center Square (1800, now the site of City Hall), the Bank of Pennsylvania (1801), and the house and furniture of William and Mary Waln (1808). Latrobe's protégées continued his legacy: Second Bank of the United States (William Strickland, 1816), Washington Hall (Robert Mills, 1816), the Fairmount Water Works (Frederick Graff, 1822), Girard College (Thomas U. Walter, 1833), and Nicholas Biddle's estate, Andalusia (Latrobe, 1811 and Walter, 1837). [Illustration] Greece as model Sculptor William Rush progressed from carving ship figureheads to major public monuments in the classical style.

Painters, led by Gilbert Stuart, Thomas Sully, and the Peale family, depicted the city's leaders flanked by classical columns and draperies, and composed pictures based on Greek mythology and literature. Stuart recalled his time in Philadelphia in the 1790s by saying "when I resided in the Athens of America...." [Illustration] The design of furniture, fabrics, upholstery, silver, and ceramics followed architecture's classicizing trend. Where furniture once had voluptuous carving, there was low relief carving and colorful wood inlays of vases, urns, and intricate geometric patterns. Chairs had backs in the shape of vases and by 1805 wholly imitated antique Greek Klismos chairs. Upholsterers (who functioned as interior designers) contrasted sharp seat edges with flowing drapery. They modeled it on upholstery depicted on Greek pottery, which was illustrated in the catalogue of antique pottery from the "cabinet" (collection) of British antiquarian Sir William Hamilton—available at The Library Company in 1775.

[Illustration of chair; also Illustration of silver (priority, with caption)] Porcelain like the shell-encrusted pickle stand produced by Philadelphia entrepreneurs Messrs. Bonnin & Morris between 1770 and 1772 evolved into the lustrous smooth porcelain made at the Philadelphia factory of William and Thomas Tucker from 1826 to 1838. The Tucker's shapes mimicked Greek pottery, with the white of the porcelain body suggesting marble. The phrase takes hold The term Athens of America to refer to Philadelphia was used as early as 1783, though later some applied the same phrase to Boston, and towns named Athens dotted the American landscape.

Henry Latrobe's May 8, 1811, oration (in good Greek fashion) to Philadelphia's Society of Artists is often cited as affirming the city as the Athens of America: he dreamed that "the days of Greece may be revived in the woods of America and Philadelphia become the Athens of the Western World." Latrobe pointed out the importance of the academies and schools of art in Philadelphia—the Pennsylvania Academy of Fine Arts (founded in 1805), the Walnut Street Theatre (1809), and the Society of Artists (1811)—and their associated buildings, endowments, administrators, and teachers. The Philadelphia Athenaeum—literally a place for the promotion of reading and higher learning was founded in 1814. In The National Gazette, a writer defined the Athens of America as "A city where the public library is open three to four hours in the day." Could Philadelphia sustain its lofty aspirations?

In 1825, a Richmond, Va., newspaper reported that "Philadelphia is determined, as far as her public buildings will effect it, to establish her claim to the title of the Athens of America." The image resonated into the 1890s, when the Acropolis-like site of the reservoir for the old Fairmount Waterworks was chosen for the Philadelphia Museum of Art. Treasured remnants But by the 1840s, the fervor that gave rise to Philadelphia's claim as "Athens of America" diminished. New York – the Empire City – dominated, culturally as well as economically. Still, the physical remnants of Greek heritage remain, and institutions created during the golden years continue to produce great painters and sculptors. Cultures from around the world add new layers to the city's visual and performing arts. Named by William Penn, Philadelphia—from the Greek Philos "loving" and adelphos "brother"—achieved greatness by modeling itself after Athens through placing importance on the arts. While cultural centers formed around the country, Philadelphians remain both the beneficiary and the inheritor of the pursuit to be the Athens of America. None would recognize the city without its arts.

Alexandra Alevizatos Kirtley is the Montgomery-Garvan Associate Curator of American Decorative Arts at the Philadelphia Museum of Art. This essay is published in partnership with The Encyclopedia of Greater Philadelphia and the Historical Society of Pennsylvania, with support from the Pennsylvania Humanities Council. The Encyclopedia of Greater Philadelphia is a civic project to build "the most comprehensive, authoritative reference source ever created for the Philadelphia region." This year the project has commissioned nine essays on signature phrases describing Philadelphia. This is the fifth. NewsWorks will publish all the essays in the series. Other phrases explored in the project are: "City of Brotherly Love," "Holy Experiment," "Green Country Town," "Cradle of Liberty," "Corrupt and Contented," "Workshopt to the World," " "City of Neighborhoods," and "Place That Loves You Back." Click on the points of the map to see the locations of the sites mentioned in the story. for NewsWorks For Philadelphians — artists and patrons alike — of the 1790s and early 1800s, the term Athens of America was (and perhaps remains) more an aspiration than an accomplishment; more a vision than a triumph.

Support provided by The Athens of America | Universal Hub The Athens of America By adamg on Sat, 07/07/2007 - 1:55pm Charles Swift discovers that Google Books has posted a PDF of the 1886 Bacon's Dictionary of Boston (31-megabyte download). Among other things, it defines "Athens of America" - and interestingly, the original meaning had nothing to do with all our colleges and alleged erudition: The epithet applied to Boston for many years, often in irony it must be confessed; of which the origin seems to be in one of the letters of William Tudor, describing the city in 1819, in which he says, "This town is perhaps the most perfect and certainly the best-regulated democracy that ever existed. There is something so impossible in the immortal fame of Athens, that the very name makes everything modern shrink from comparison; but since the days of that glorious city, I know of none that has approached so near in some points, distant as it may still be from that illustrious model." Neighborhoods:

Question: Which city of the USA is known as "The Athens of America"?
Answer: BOSTON